Modern American Poetry

(^52) Kenneth Burke against sunset, two levels are figured, while the intermediate trees “become with lost identity, part of the ...

53 Firmness, Not the full smile, His art, but an art In profile. With the partial exception of the Cathaysequence, the Personaev ...

(^54) Hugh Kenner had not a single Canto been finished, dispel any doubt of Pound’s being a major poet. It will be convenient to ...

Mauberley 55 Because one has only learnt to get the better of words For the thing one no longer has to say, or the way in which ...

(^56) Hugh Kenner echoes Pound’s. But Joyce refrains from unambiguous sympathy with Stephen’s desire for Shelleyan sunward fligh ...

Mauberley 57 playgrounds into thin cruel daylight. Its postures and conflicts continue, as we have indicated, those of Propertiu ...

(^58) Hugh Kenner wringing lilies from the acorn’) of an unclubbable sort. The epitaph modulates into grudging admiration for th ...

Mauberley 59 Unaffected by ‘the march of events’, He passed from men’s memory in l’an trentiesme De son eage;the case presents N ...

(^60) Hugh Kenner home to many deceits, home to old lies and new infamy; usury age-old and age-thick and liars in public places. ...

Mauberley 61 than hotels.’ This struggle and rebuttal is, we see, still being carried on; a new dimension of tradition and confl ...

(^62) Hugh Kenner The third exhibit is the genuine stylist in hiding, an anticlimactic redaction of the Lake Isle of Innisfree: ...

Mauberley 63 Dr. Johnson’s letter to Lord Chesterfield stands as the archtypal repudiation of the vague, vain, and irrelevant cl ...

(^64) Hugh Kenner Jamesian hero who might have been Pound. Part two is practically a précis of the flirtation with passionate il ...

Mauberley 65 And Kung raised his cane against Yuan Jang, Yuan Jang being his elder, For Yuan Jang sat by the roadside pretending ...

(^66) Hugh Kenner Left him delighted with the imaginary Audition of the phantasmal sea-surge, and we are warned by inverted comm ...

Mauberley 67 an epitaph scrawled on an oar, ‘I was And I no more exist; Here drifted An hedonist.’ pathetic echo of the elaborat ...

(^68) Hugh Kenner but the closing stanza is pitched to a key of quasi-scientific meticulousness that delivers with Flaubertian i ...

Mauberley 69 Mauberley as essentially a popularization of Propertius; though the context indicates Pound’s awareness that this i ...

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71 Oh, grassy glades! oh, ever vernal endless landscapes in the soul; in ye,— men yet may roll, like young horses in new morning ...